Brew some coffee and enjoy !
Interview with Peter Bjargo conducted by Bill Zebub for THE GRIMOIRE OF EXALTED DEEDS magazine.
The percussion i Sophia makes me think of medieval warfare. Did you intend for it to sound militaristic?
On the first album i wanted my music to have a small connection to the Templars. But on the later albums, it wasn’t my intention to make it that military. To me, Herbstwerk is more orchestral, and Spite more cold industrial.
Some of the tracks makes me think of what baroque would sound like in the mind of someone undergoing a psychotic episode. The nine tracks of Sigillum Militum were written “specifically for a live performance” – I read that by chance. How do you actually set up a live show, and does it include the haunting textures of the studio version?
I had this idea of a very special one-time live situation. I wanted to make a quite bombastic performance, with a lot of people on stage and very powerful. But I realized quite early that this kind of live performance costs a lot of money and is very difficult. Too many factors could go wrong. My live shows these days are more minimalistic, more humor on stage. Often just me and one more, samplers, and drum.
Am I correct in assuming that you intentionally compose a musical tension which builds up suspense? It is almost frightening sometimes when the aggressive release arrives.
Often i work after a model, where I start very calm and build up a cacophony. This often happens unintentionally. I try to break this pattern intentionally.
In Adeptus/Last Movement, did you use a beat out of time? It sounds like you did something like that to create a feeling of disturbance.
I had an idea of two independent parts, moving into each other. This created, as you say, a feeling of disturbance. Sophia has always been a platform for experiment, and I will never be afraid to break an old pattern and try something new.
The Seduction of Madness MCD is your musical interpretation of SATURN DEVOURING HIS SON, and although it specifically intends to depict madness, I had always felt that Sophia is like a “schizophrenic lens” through which one sees reality with a little bit more. When a schizophrenic hears or sees hallucinations, it is called a “positive” symptom because it is something that “adds” to what normal people have. Conversely, schizophrenics whose facial expressions are flat and do not reflect their feelings are said to have “negative” symptoms because something in a healthy person is absent. Sophia is music with positive symptoms, I think. My question is, how is the mini Cd more of an exploration into psychosis than your other releases?
It was actually intention of a live performance, together with a movie backdrop. The theme of the songs was never in particular schizophrenia but more of different cases of psychosis, and I guess most of that came from my interests in psychology and after have read the book “Seduction of madness” by Edward M. Podvoll.
I will ask about Stravinski having an effect on you because he was the first composer, I believe, who broke from comfortable melodies and specialized in disturbing music, especially in the area of percussion. You sometimes lull the ear with safe phrasing and then you unleash a nightmare is this original, or inspired by others?
This is my idea of how to make people feel calm and relaxed, then start to feel uncomfortable and in the end trying to get a climax of chaos. This model is, I think, mostly for Seduction of Madness MCD. The model of crescendo has been existing for of long time. But I never took the idea from anybody else.
The author of ONE FLEW OVER THE CUCKOO’S NEST was under the influence of peyote when he wrote that. Did you ever ingest a hallucinogen when creating music?
No, I haven’t. If you don’t call enormous amount of booze and beer a hallucinogen.
Enjoy this raw clip of an interview with Liv Kristine when she was in Leaves’ Eyes. There are THEATRE OF TRAGEDY questions here, as well as ATROCITY questions, so have fun watching.
This was my first time watching “The New York Ripper” and it was quite coincidental because I have been trying to discover the rules of slasher films, even though this is not technically of that category.
The first thing that impressed me was the cover art. Merchants seem terrified of anything remotely sexual, so the image of a woman laying on her side for the area between her legs to be visible is quite daring, and a closer look shows that some areola is seen escaping her bra, as well as a wee bit of nipple. I don’t know if this is allowed because of the Lucio Fulci’s fame, but something like this from any other person might get an instant “no” from the acquisitions department in a retail chain.
Although this is an older movie, the content is way ahead of the standards of today. Movies that have nudity that is combined with sexuality get punished, yet THE NEW YORK RIPPER goes way beyond this.
Let me put this bluntly. Lucio Fulci was not afraid of tits. He was not afraid of nudity, and there are some exposed nether regions in this film to prove that. More importantly, he was not afraid of depicting his villain as a sadist. American-made modern movies that are about serial killers completely sanitize the murderer almost to the point of removing the fact that serial killers are sexual predators. One wouldn’t know that from watching a recent American movie.
I am not invested in the genre so the gore effects don’t have the same effect on me as they presumably had on audiences in the original era of the movie, but I quite liked some of the shots of the knife coming at the camera with a bit of lens distortion.
Did I mention that there is nudity in this movie? I can’t believe that I am calling an old movie “refreshing” and “new” – such is the decline of artistic expression in the present time. This adds new meaning the the expression, “Ah, the good old days…” Seriously, when was the last time that you saw a movie with this level of creative freedom?
Be grateful that there once was a time when movies were made from artistic vision, not as formulaic commercial fluff that must adhere to the human resources department.
I found this viewing experience to be highly enjoyable. It is strongly recommended.
It’s not my style to give away story lines because I personally love to let the movie unfold. I don’t need to hear anything from a viewer other than “go see it” so I hope that you are the same.
I would ask that you purchase this movie to show support for the bold decisions of this release. Perhaps, little-by-little, we can send a message with our purchases.
If you have been searching for past issues of THE GRIMOIRE OF EXALTED DEEDS, then you may want to check out the crowdfunder that Bill Zebub has launched. CLICK HERE,
You also get to obtain bundles of movies, t shirts, and other goodies.
You can also obtain a hand-numbered, autographed book. Take a look. You might like it. If you are cool enough to share this campaign, then copy and past this URL – https://igg.me/at/T0LwkAt1XOk/x/8486493
Support is more than just saying “I like what you do.”
Bill Zebub first considered writing a memoir when he was developing a script for a movie that was to spoof his magazine history.
He wanted this movie to be structured like a movie, not like a biography. He also wanted to look like the fool in a slapstick movie, not like a hero.
Those who know Bill Zebub in real life know that he constantly gets into trouble and that he has more bad luck that the entire population of the planet. That’s perfect for a movie.
There was information that Bill Zebub wanted to convey in the movie, but that material would best be enjoyed in a book. As soon as he started writing, Bill Zebub seemed possessed.
This book would be entertaining even if a reader never heard of Bill Zebub. That is the way that it was written. If you have heard of him, then you get to enjoy some secrets, not just about him, but about others. Well, mostly about others.
There will be a crowdfunder to release the first batch. This book is so offensive that it will be impossible to traditionally publish. Bill Zebub does not want to dilute any of the material, which he would be forced to do if this were a mainstream release.
Another reason for the crowdfunder is to release items that had long been lost, as well as other special goodies.
If you would like to participate in this, please Email email@example.com and ask to be put on the list. You will be notified when the campaign starts.
Bill Zebub was invited to be a guest at Shock Stock, which is a horror convention in London. (shock-stock.com)
His latest movie, CLOWNA NOSTRA played there during a prime viewing time slot. To his surprise, Bill Zebub won an award for the best screenplay.
Even more surprising, the movie played to a packed room, and the audience remained until the end. If you have seen this movie, then you will know how amazing this is. The audience members were intelligent enough to interpret the offensive dialogue for what it was instead of getting triggered by it. This was no gathering of brainwashed people. This was an assembly of free-thinking people who love independent film.
Bill Zebub was treated like a king by staff as well as attendees. “This is how a horror convention should be run. Other organizers should take notes. ” said the King of the B Movies.
This was Bill Zebub’s favorite horror convention since he could remember going to conventions. No other event has ever come close to the vibe at Shock Stock.
Bill Zebub will be a guest at Shock Stock in Canada. (Click
In addition, Bill Zebub’s new movie CLOWNA NOSTRA will play there in a prime slot on Saturday!
Shock Stock is one of Bill Zebub’s favorite horror conventions. It has cultivated a highly social atmosphere. It’s a gathering of devoted people. Take a chance.
You may have heard that some bands promote the pussification of metal. like BENIGHTED, which some people call “Be-Nutted” – but the following video shows metal people who have no fear of humor.
Please support bands that promote independence, not conformity and cowardice.
Enjoy this interview with Benighted.